Messiaen: Vingt Regards sur l'enfant Jésus
Jean‐Rodolphe Kars (piano)
Awards:
-
Diapason d’Or, June 2018, Nouveauté
Kars present a concentrated, hypnotic yet slightly careful account of Messiaen’s mighty piano cycle. The highlights are the meditative pieces.
Messiaen: Vingt Regards sur l'enfant Jésus
Jean‐Rodolphe Kars (piano)
Purchase product
Awards:
-
Diapason d’Or, June 2018, Nouveauté
Kars present a concentrated, hypnotic yet slightly careful account of Messiaen’s mighty piano cycle. The highlights are the meditative pieces.
About
There have been many Messiaen pianists of note to perform and record his music during the last half-century, not least thanks to the composer’s generosity as a teacher of both the technical and spiritual aspects of his music, which go hand in hand as they do for very few others. Save for Messiaen’s second wife Yvonne Loriod, however, none of those pianists can claim so direct and profound an understanding of the composer and his music as Jean-Rodolphe Kars. This makes the present issue of a hitherto unreleased recording of the Vingt Regards all the more significant: essential listening for all Messiaen devotees.
The recording was made live by Dutch radio at a concert in the Kleine Zaal of the Amsterdam Concertgebouw on 30 April 1976. By then, Kars had pursued a concert career of note for almost a decade, having been a finalist in the 1966 Leeds International Piano Competition and taken first prize in the 1968 Olivier Messiaen competition.
Contents and tracklist
- Jean-Rodolphe Kars (piano)
- Recorded: 30 April 1976
- Recording Venue: Live recording, Kleine Zaal, Concertgebouw, Amsterdam, Netherlands
Awards and reviews
-
Diapason d’OrJune 2018Nouveauté
May 2018
Kars present a concentrated, hypnotic yet slightly careful account of Messiaen’s mighty piano cycle. The highlights are the meditative pieces.
July 2018
His 1976 interpretation of Messiaen’s monumental Vingt regards includes some of the finest Messiaen on record, Kars’ reading rivalling Aimard’s classic take. Kars paces each movement with great consideration, finding stasis where appropriate but exuding dynamism (try ‘Regard de l’Esprit de joie’). Perhaps his terrific ‘Le baiser de l’Enfant- Jésus’ sums up his magnificence, exuding calm while also projecting the individuality of the composer’s sound-world. The recording might not have the presence of more modern technology but Kars’ energy and mystical grasp convince fully nonetheless. The excellent booklet notes admit to an omitted line in one movement, ‘Par Lui tout a été fait’; nevertheless, this disc is unmissable.
